Middleburg Review: “Better Man”

Better Man (Michael Gracey, 2024) 3½ out of 5 stars

Born in 1974, British pop star Robbie Williams first came to fame in the 1990s boy band Take That. Williams left the band in 1995, eventually becoming quite the hitmaker, himself. Now 50, the man can perhaps look back on his journey with some perspective, analyzing the highs and the lows, the good and the bad. Or at least that’s the kind of movie director and co-writer Michael Gracey (The Greatest Showman) delivers in Better Man, a warts-and-all compendium of key points in the singer’s life. It’s a rousing affair, with a chimpanzee at its center.

Excuse me? As in, our closest DNA relative? Yes! Based on a series of recorded conversations Gracey had with Williams over a few years (details to come when I publish my recently conducted interview), the movie envisions its subject as something of a performing monkey, dancing to everyone’s beat but his own. Until, that is, he becomes not only his own man, but … a better man.

I am no Williams aficionado. In fact, I have somehow managed to miss most of his career, with the exception of such catchy tunes as “Rock DJ” and “She’s the One.” This makes me either the ideal audience or the worst. Still, the fact that I thoroughly enjoyed this movie, despite its many formulaic plot elements, speaks well of its expert craftsmanship and brisk narrative. Love Williams or not—or be ignorant of his accomplishments entirely—Better Man should still provide 134 minutes of engaging cinematic entertainment.

Much of that is due to the music (taken from all over Williams’ career)—so maybe I have now become a minor fan—and, especially, Gracey’s mise-en-scène. Mixing impressive visual effects with live action, the director creates a series of toe-tapping set pieces that dazzle the eye and mind. All the while, he walks us through various biographical milestones (pleasant and not) to showcase the rise (and almost fall) of Williams the man and celebrity.

Though every person on the planet is unique, there is much that is familiar here from other musical biopics, including recent ones like Rocket Man and Bohemian Rhapsody. Poor boy makes good, the success proves overwhelming, addiction issues ensue, and eventually he gets it under control. Those are the broad contours. Fortunately, the details beyond that outline bring plenty of surprises and welcome twists. In addition, we explore the very real and devastating consequences of Williams’ depression and other mental-health issues.

Williams provides the ongoing voiceover and voice of the adult onscreen Williams, but his physical body is played—via motion capture, in all its simian glory—by Jonno Davies (King of Crime). There is a vibrant energy to the performance that propels us through the genre clichés with gusto, Davies joined by a team of other fine actors of equal talent. Of especial note is Steve Pemberton (the BBC’s Inside No. 9 series), as Williams’ neglectful father, who passes on his love of Sinatra and the Rat Pack before decamping for more exciting pastures (and then returning once Williams makes it big).

Others worth mentioning in the ensemble include Raechelle Banno as Williams’ one-time love Nicole Appleton, Damon Herriman (The Bikeriders) as Take That manager Nigel Martin-Smith, and Alison Steadman (The King’s Man) as William’s beloved Nan. They all come together, along with everyone and everything else, to make of Better Man a lively romp, whatever its story faults. So settle down and get ready to dance and sing along. The chimp is in the house.

Christopher Llewellyn Reed

Christopher Llewellyn Reed is a film critic, filmmaker, and educator, as well as Film Festival Today's Editor. A member of both the Online Film Critics Society (OFCS) and the Washington DC Area Film Critics Association (WAFCA), and a Rotten Tomatoes-approved film critic, Chris is, in addition, lead film critic at Hammer to Nail and the author of Film Editing: Theory and Practice.